Monday, August 17, 2015

In a recent blog post, I
briefly mentioned that the ebook library market is currently devoid of any key
players as far as indies are concerned.

I've known this for a
while, and came up with a business plan to fill this void. But it hasn't been
easy.

Well, technically, for
me it has been pretty easy. I brainstorm ideas, occasionally do some promo, and
fun stuff. For my business partner, August Wainwright, it's been one challenge
after another. For over a decade, the ebook library market has been the wild
wild west. Each library or library system has been forced to reinvent the wheel
in order to offer their patrons ebooks. They've been given one-sided deals by
big publishers and distributors, have no universal way of buying, cataloging,
hosting, or lending ebooks, and have been hamstrung by a myriad technological,
business, and monetary roadblocks.

And that's just the
library end of things. The indie author has also been unable to quickly and
easily get titles into libraries. Many authors want to reach library patrons so
much they're willing to give away their ebooks for free (even though the
company that does so charges libraries for those same books--is that insane or
what?).

To help authors
understand more about the current dilemmas facing libraries, August and I did a
long
post on www.ebooksareforever.com. Here's an excerpt, along with some Q & A.

As EAF gets closer to an
official launch later this year, we wanted to take an opportunity to weigh-in
on a few of the more important aspects of the relationship between indie
authors and libraries.

Something we’ve
continuously attempted to convey during our beta period is that the consumer
marketplace and library marketplace are two entirely different entities, and as
such, need to be approached from different strategic angles.

This article discusses a
few of those details, and is meant to be a first step towards building a
knowledge base that both indie authors/publishers and libraries can reference
in pursuit of a long-term, sustainable relationship.

LIBRARY INTEREST AND MARKETING

Librarians have told us
that they are slightly overwhelmed with the idea of having to discuss ebook
acquisition with indie authors. We’ve heard stories about how libraries will
set up booths at conferences and trade shows, and a vast majority of the people
who seek them out are indie authors wanting to get their books into the
library.

A few even admitted
their response eventually defaulted to “Add your books to Smashwords, and we
can look for them through Overdrive”, when in reality, the likelihood of that
process ever playing out is very small.

This is eye-opening for
many different reasons.

First, because it
demonstrates the true amount of work required for librarians to interact with
indie authors at scale.

Think about it like
this:

If a librarian is asked
about a popular title by a few patrons, he/she may attempt to source the book.
Let’s assume the book was published by a small independent press. Within a few
back-and-forth conversations, the librarian will not only be able to inquire
about the desired book, but will also gain insight and easy access to all of
the other books available from that small publisher.

This effect is amplified
the larger the publisher is. If they target a publisher with thousands of titles,
a relatively small amount of effort could result in many new books for their
patrons.

However, when looked at
in reference to indie authors - all of which act as individual publishers -
each of these interactions is completely separate of all others.

This presents a HUGE
hurdle for libraries.

Second, multiple
librarians have said they are more than a bit dismayed that they are approached
so many times with the same common pitch by indie authors. This pitch, from
what we’ve been told, amounts to “You should add my books to your library.” or
“Patrons would love my books.”, and nothing much else.

No marketing materials.
No thought-out plan. Not even a summary or description of their titles or
series.

This obviously doesn’t
represent libraries’ interactions with ALL indie authors, but indie authors
need to have a tight presentation to be taken seriously by libraries, as well
as an easy route into those libraries, just as libraries need an easy way to
attain wanted titles for their catalogs. Reducing friction as much as possible
should be a priority.

Right now, we’re working
closely with acquisition librarians to create this framework, and we’re working
to make the process simple for both parties.

DISCOVERABILITY AND ROYALTIES

Discoverability is a
common buzzword right now. Every conversation pertaining to indies and their
success (or lack thereof) will contain discoverability as a major point of
interest.

Many of the authors
we’ve spoken with rightly look at libraries and their patrons as an opportunity
to extend readership into new areas. Additionally, some have noted that they’d
be willing to forego royalties because what they’re most concerned with is
discoverability.

However, foregoing
royalties in an attempt to gain traction with libraries misses a large portion
of what the goal of librarians truly is.

Part of the job of
librarians is to assess their specific patrons’ needs. What works at a large
metro library, may not work at a smaller rural library. What’s popular and read
often at a suburban public library will often be very different from that of a
local community college or large university.

These individual needs
are what drive librarians to speak of the need for multiple solutions.

But in all the time
we’ve spent talking with librarians, not one has ever implied that libraries
wish they could offer their patrons great content without having to pay for it;
or that being able to do so would solve any of the acquisition problems they
face. Every single librarian we’ve talked to about licensing, pricing, and
discoverability has shared the same mindset: “Authors deserve fair pay for the
work they’ve produced”. In our interactions, this sentiment appears universal.

Furthermore, the
librarians we’ve worked with are not only HUGE fans of indie authors, but
massive advocates for sustainable writing careers.

The long-term answer to
the indie author’s discoverability problem is not FREE; not in the consumer
marketplace2, and not in the library marketplace. If the
ebook is produced professionally, has compelling cover art, is well edited, and
patrons choose to read it, then the author deserves to be compensated.
Librarians certainly agree with this.

Discoverability and
royalties are not, and should not be, tied directly to each other.

EAF:
We’re still in a beta testing period, due almost entirely to the fact that an
overwhelming majority of libraries in this country don’t have access to the infrastructure
needed to host their own ebook collection.

Vendors
have controlled this aspect of the digital library since ebooks started to
become popular.

Because of this, if we want to give libraries the ability to host their own
content and allow patrons to quickly and easily interact with the ebooks they
purchase, then we have to invent the technology they need from the ground up.
And that’s exactly what we’re doing.

For
eBooksAreForever to be judged as a success for both authors and libraries, we
feel it’s important to not only deliver the necessary technology, but to create
a community around that tech that benefits everyone involved. So we want to make
sure that when we launch nationwide later this year, that authors and
librarians will be blown away by the features, ease-of-use and simplicity of
eBooksAreForever.com.

But
that's only ⅔ of the whole equation. Many libraries don't have any existing infrastructure
to offer ebooks to their patrons. So EAF is working to create one, and make
this available to libraries and patrons for free.

Joe
sez: Compare
ebooks and libraries to other media markets. Let's equate writers with
videogame developers. Creating the game isn't enough. There needs to be a way
to get that game to consumers. There also needs to be a way for consumers to
play the game.

In the
retail market, you can reach consumers via Amazon, Google, etc. But in the
library market, which is global but decentralized, every library and library
system has a different way of acquiring and cataloging titles (and cataloging
is a big one--a library can't offer any materials to patrons unless it has a
method of sorting, shelving, and keeping track; with digital media this means
integrating with a myriad of different cataloging and hosting software, and in
some cases being the host.)

Then,
once the library has a way to buy and lend ebooks, how are patrons supposed to
read them? Amazon and other retailers have invented their own ereading devices
for this purpose. While some libraries may have the funds to purchase and lend
out dedicated devices, most don't. Which means EAF has to not only integrate
with libraries, but with the devices that patrons already have, such as
computers, tablets, and smart phones.

This
isn't something that happens overnight.

Q: Who
do you see as competition for EAF? What are they doing right or wrong?

EAF:
The only real competition to EAF at this time is Overdrive via their connection
with Smashwords. Although, comparing the sustainable indie platform we’re
building to a vendor that serves big traditional publishers, and which was just
purchased by Kobo’s parent company for half a billion dollars, doesn’t seem
like an apples-to-apples comparison.

Overdrive/Smashwords
is the only other avenue that indie authors and publishers can utilize to get
their ebooks into libraries AND get paid for doing so. In that respect, they’re
doing the right thing by paying indies royalties when libraries purchase their
books.

However,
we’ve spent a lot of time discussing this with librarians and, while a few
admitted their response to indies eventually defaulted to “Add your books to
Smashwords, and we can look for them through Overdrive”, in reality, the
likelihood of that process ever playing out is very small.

You can
read a more in-depth reason for why that is here (in the “Library Interest and Marketing”
section), but it boils down to 2 main factors:

Most of the popular indie content isn’t available via
Smashwords

It’s far too daunting of a process for them to take on
the Overdrive/Smashwords process for each and every indie author who
approaches them

More
importantly, indie content just doesn’t seem important to Overdrive. And why
should it when they have ebooks from the Big5 (as well as many other
traditional publishers) priced at huge markups above the retail price.

We feel
the goal for indies and libraries should be to build upon the already
harmonious relationship that exists between the two groups. Finding ways to
create a sustainable community is something that nobody else is even attempting
right now.

Joe
sez: The
problem of discoverability for authors is much more difficult on a virtual
library shelf than it is on Amazon. First, libraries must be aware of titles;
they aren't going to buy something they don't know exists. Second, patrons need
to be aware of titles; they aren't going to borrow something they can't find.

My
biggest goal as a writer mirrors the goal of many of my peers; we all want to
be read. Simply getting your ebook into a library is no guarantee anyone will
read you, or even find you.

One of
the ways we're working to make EAF valuable to libraries is to make it valuable
to library patrons. That means a way for readers to find, read, and discuss
titles.

Q: What
are the greatest ebook challenges facing libraries?

EAF:
Among the hurdles that libraries must overcome are:

Shrinking budgets; They simply don’t have the budgets to
purchase everything they would like to add.

Licensing models that strain that budget; High prices
for ebooks, combined with unfavorable licensing, create a very unfavorable
environment for libraries. For example, a library must pay for extension
of time-limited licenses of old ebooks AND purchases of licenses for new
ones. All kinds of sustainability and predictability issues arise.

Cost of technology, which again strains their budget; An
overwhelming majority (I’d guess more than 97%) of libraries don’t have
the ability to host digital content on their own. This limits what they
can offer their patrons to those vendors who are providing third party
services. Most of these vendors charge high platform setup fees.

There
are plenty of other concerns regarding ebooks, such as patron confidentiality
and security (like when Adobe was caught collecting data on library ebook
users),
censorship and filter requirements, and changing demographics, but the
shrinking budget sticks out as a major problem because of how enormously
expensive ebooks are from major publishers.

Joe
sez: I'll
add another hurdle: the time and money involved in curation. Which brings us to
the next question.

Q: Is
EAF ever going to invite all authors into its catalog? Why the exclusivity?

We’re working on ways to
allow ALL authors access to eBooksAreForever and, with input from librarians,
are considering different solutions for different challenges at various types
of libraries.

In a perfect world,
curation wouldn’t be necessary. In general, I’d say curation is completely
unnecessary in the consumer space. Putting up walls (as many indies are
familiar with) and falsifying “best-seller” lists to limit consumer access to
certain titles is simply wrong.

But the important thing
that we need to know to initially build and grow EAF is that the consumer
marketplace and library marketplace are two different entities. There are many
things that would be expected when it comes to Amazon/B&N/Kobo/Apple/etc
that just don’t work the same way for libraries. Mostly, this is due to the
fact that the consumer reader market is growing (depending upon who you ask of
course), where as library budgets are shrinking – and they’re shrinking while
ebook prices are continuing to climb for them. We’re dealing with far more
limitations and completely different needs.

Additionally, librarians
have asked for this curation, as it’s something that makes the acquisition
process far easier for them. We want to deliver upon that request.

To finish all necessary
testing before our official launch later this year, we need to control both
quality and quantity of titles, as well as the number of titles per genre. We
can’t go to launch with 80% of our titles being mystery titles, or romance
titles; which may lead to someone who passes all of the internal criteria we’ve
set being temporarily denied at this point.

Being denied access now
doesn’t mean you’ll be denied in 2 weeks, or 2 months. Overall, there are
various factors that go into the curation process, of which number of reviews,
quality of reviews, number of titles, whether your books are in a series,
estimated sales figures, cover art, book description, current genre saturation,
library interest, and overall availability are just a few.

We’ve come across books
that are obviously of high quality that have few sales, and fewer reviews. And
we’ve accepted some of those titles. We won’t automatically turn authors away
because of lack of reviews. Likewise, we also can’t automatically accept books
based entirely on hitting certain thresholds.

Joe sez: In a nutshell, curation is necessary to make
EAF's catalogue valuable to libraries.

With the sheer number of
indie titles already available, and tens of thousands more released every year,
only the largest library systems can afford to pay a fulltime employee to sort
through them all.

The work-around is
simple: EAF does the sorting for libraries. Our business plan focuses on making
it simple for libraries to buy our entire catalog all at once, rather than
parsing through each individual title.

This means the titles we
offer have to be vetted. EAF's collection is only valuable if the titles in it
have already proven popular with readers.

Think about an all-you-can-eat
buffet. It costs $9.99, and has a hundred different foods to munch on. How long
would that buffet stay in business if eighty out of a hundred foods weren't
ever eaten? Or if a handful were really low quality?

Our launch model is
focused on working with libraries to get them desired indie content without
wasting their time or money. We're also working to incorporate both erotica and
non-fiction in our launch.

For the future, we're
developing different ideas to allow more writers to reach libraries, while also
fairly compensating them, even if they haven't had big sales yet.

I didn't start this
business because I wanted to get rich quick. I started it to help writers get
their self-pubbed work into libraries. This means all writers. But that's going
to take some time, and there will be some smaller steps EAF needs to take
before that happens.